In light of the info about the properties of souls in The Unwanted Guest, I want to shout out that Gideon — with no grounding in the theoretical underpinnings of the subject whatsoever — actually makes basically the same observation about the permeability of the soul at the end of Harrow the Ninth, when she's in Harrow's body and (with some justification) is pretty sure she's about to die in the River:
Harrowhark, did you know that if you die by drowning, apparently your whole life flashes in front of your eyes? I didn't know, as I died and took you along with me—having kept you alive for what, a whole two hours?—whether it was going to show me both. Like, at the end of everything, if it was going to be you and me, layered over each other as we always were. A final blurring of the edges between us, like water spilt over ink outlines. Melted steel. Mingled blood. Harrowhark-and-Gideon, Gideon-and-Harrowhark at last.
‘As we always were’! ‘Melted steel, mingled blood’! (Also interesting that despite saying earlier in the book that all she ever wanted was for Harrow to eat her (oh Gideon), the metaphors Gideon reaches for here are not about consumption ala what Ianthe’s deal and thus traditional lyctorhood is presented as in TUG, it’s about similar and equal substances joining together to a new whole, more like what we see with Paul. I personally feel like a Paul-style merging for Harrow and Gideon is not in the cards and would not be a satisfying ending — it worked as a bittersweet conclusion specifically for Pal and Cam because those two are utterly nuts in all their sanity lol, but I don’t think the series means to present it as The definitive answer to the central question of individuation vs. connection. There is something so moving to me, though, in the fact that right at the end this is what Gideon wants for her and Harrow. Not for Harrow to eat her, not simply to be of use to her, but to be made together from the same stuff. It’s a longing for connection and union that’s finally at least in imagery free from the imbalance within the ultimately hierarchical roles of necromancer and cavalier that Gideon internalizes through her corruption arc in Gideon the Ninth, understandably so as it’s the only model she’s presented with in their society to understand intimacy and attachment and devotion through. But Gideon says Harrowhark-and-Gideon, Gideon-and-Harrowhark at last, mutually and equally. And I’ve written about this before, but at what must be almost exactly the same time, the same process is happening in Harrow’s mind through the evolution in the symbolism of her dream bubbles. Help I am emotions now)
Palamedes is so right, Gideon is a lot smarter than most people -- including Gideon herself -- ever give her credit for.
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do you think that Harrow would choose Alecto over Gideon?
I think that depends on how you mean it. Like if they were both dangling from a cliff and she could only save one of them? No fucking clue, and I hope to hell she never has to find out.
If she's choosing who to ask to prom, that's much easier. No. Gideon gets the corsage.
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listen i know jack shit about the locked tomb but based off of a majority of the art ive seen of those two necromancing lesbians most of you couldnt actually bothered to do a quick google images search of what maori people actually look like and instead just draw them with white features over a Vaguely Brown skintone
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I know less than I’d like to about this, but if several of TLT’s main cast are intended to be of Māori descent, is the skull paint supposed to be a. Flanderization? Of Tā Moko tattoos? Is it a vague metatextual nod, or is it supposed to further cement how John’s actions, rather than his words, show how far he’s fallen from upholding what he promised to protect? Or am I talking out of my ass.
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